DOI article:
Miziołek, Jerzy: Ascensio, Apotheosis czy Resurrectio?: Rozważania o Currus Solis w mauzoleum Juliuszy pod bazyliką watykańską
DOI Page / Citation link: https://doi.org/10.11588/diglit.13597#0046
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JERZY MIZIOŁEK
ASCENSION, APOTHEOSIS OR RESURRECTION?
SOME OBSERVATIONS ON THE CURRUS SOLIS
IN THE JULII'S TOMB BENEATH THE VATICAN BASILICA OF ST. PETER
Summary
Despite Othmar Perler's (1953), Sister Charles Murray's (1981) publications and many other discussions of the mosaics of the
Tomb of the Julii (Mausoleum M) beneath the basilica of the Vatican, thèse mosaics remain problematic.
In his book Perler suggested that four figurai scènes represented among vine-scrolls can be seen as a cycle of images which
should be read as follows: the Angler (on the north wall) signifies Baptism, Jonah swallowed by Ketos (on the east wall) signifies
death, the figure of Helios/Sol (on the vault) signifies the glorious Ascension of Christ from Hades at Easter (interpreted also as the
Résurrection), and the Good Shepherd (on the west wall) signifies Paradise (Heaven). In Perler's opinion the mosaics were executed
in the first half of the 3rd century.
In the latest detailed study on thèse mosaic, Murray proposed a différent order for scènes, i.e.: the Angler, the Good Shepherd,
the scène with Jonah (deciphered as both going and coming out, because entering the whale feet first — death and Résurrection) and
finally the scène with Helios/Sol. Helios in Murray's opinion depicts Christ charioteer. Differing from Perler who writes that the
chariot is shown at the zénith of its journey. Murray points out that Helios begins his journey. (This view is partly based on an error
of observation. It the case of the left hind leg of each horse it is not only the lower part that is shown: the upper part is clearly visible
against the body of the horse). It is not the Ascension that is represented here but an interpretatio cristiana of the Apotheosis.
Murray thinks that the vine without fruit depicted in Tomb M, is unique in early Christian art and becaus of this has deep symbolic
meaning: is linked with the Christian Mystery in which "the true fruit of immortality is given by Christ". Thus the christians in this
Mystery are first "caught" by Christ the Angler, then saved by His teachings (the Good Shepherd), and after death and the
Résurrection (Jonah) ascend to heaven in the chariot of Christ-Helios. Murray is not of the opinion that there may be a connection
between the Helios représentation and the iconography of Sol Invictus, as was suggested by Perler and other scholars. Like Perler,
however, she dated the mosaics "not later than the middle of the 3rd century".
1 he main hypothesis in this paper is based on an observation, which has so far been overlooked in the literaturę on the subject
that in the case of Helios in Mausoleum M one should consider the "orientation". Although the charioteer is depicted on
a North — South axis, his chariot rises from the East. (It is important to remember that the Vatican cementery spreads out from the
East to the West). This observation and the ascendant position of the horses make feasible the suggestion that the mosaic on the
vault depicts the Rising Sun (Oriens). Such a suggestion has already been put forward by Ernst H. Kantorowicz. Professor
Kantorowicz's interesting hypothesis was based on a false observation that beneath the wheel of the chariot the mosaic is of
a reddish colour, and this could signify dawn.
The fact that Vatican Helios "ascends" from the East and at the same time, without doubt, is linked with the iconography of
Sol Invictus, makes it possible to reject Murray's interprétation and partly that of Perler. The solar charioteer probably can not be
interpreted as an image of the Apotheosis, because there is no other représentation of Sol Invictus in sepulchral art, hor as the
Ascension, because Christ ascended to heaven in the direction of the East, and because of the symbolism of "the East" (Oriens-Christ)
which was very widespread amongst early Christians. As early as the first century it seems they turned towards the East when
praying. (The Lord not only ascended to heaven in the direction of the East, but also His Second Coming was expected from the
direction of the East.)
Following Deichmann's (1970), Brenk's (1977) and other scholars' suggestion, but adding new observations, the author dates
the mosaics from circa 300 or rather in the first quarter of the 4th century.
Without considering the order of the scènes in Mausoleum M which is still debatable, the author questions Murray's suggestion
that the scène with Jonah could signify both death and Résurrection. In early Christian art, however, one may also find Jonah
séquences in which he is represented entering the whale feet first and in the next scène coming out (see, Age of Spirituality,
Catalogue, No 369).
In successive passages the author considers: 1) the problem of the vine-scrol, 2) the iconographie filiation of the Helios motif
and at the same time date of the mosaics, 3) the significance of the représentation of Helios and 4) early Christian images similar in
conception.
Ad. 1. Murray stated that the vine without the grapes as pictured in Tomb M is unique in early Christian art. One may find,
however other examples (see, figs 6 — 8 and notes 38 — 41). The most important example is to be found in the Cemetery of S. Gen-
naro in Naples (fig. 6) with Christ [?] with the virga taumaturga shown amongst vine-scroll (no doubt without fruit). Thus, it seems
that, the vine in Tomb M has rather only a décorative function.
Ad. 2. Following earlier opinions, but enlarging on them, the author points to an obvious connection between the iconography
of Helios in the Julii Tomb and the iconography of Sol Invictus (see figs 14—17). Consider a well-known tondo of the Sol-Invictus —
Oriens on the Arch of Constantine in Rome, ca. 312, and its location on east wall where the sun rises./ Moreover this tondo, together
with a scène below representing Constantine's entry into Rome closes the narrative composed on this monument. Another
important image of the Sun of the Sol Invictus type is to be found on the floor mosaic in the synagogue Hamath Tiberias (first
quarter of the 4th century fig. 19). Thèse and other examples justity the opinion that the Vatican mosaics were executed ca. 300 or in
the first quarter of the 4th century. It is worth noting that the high-belted chiton worn by Helios in the Julii Tomb was very popular
in représentation of the Sun at that time (see figs 14, 15, 18; cf. also figs 16 and 17). One may add that also other scènes represented in
Mausoleum M are to be found in art ca. 300 and in the first quarter of the 4th century.
Ad. 3. Helios as depicted in Tomb M represents Christ Himself; this is suggested by the rays which extend from the head of the
Charioteer, arranged in a cruciform manner, and by the scènes pictured on the walls. But what is the meaning of this image, taking
into account its "orientation", the ascendant position of the chariot and "unconquered nature" of the Charioteer?
Following previous research, by Perler and Kantorowicz, and at the same time enlarging on them, the author considers texts of
Christian exegetes on Christ-Oriens, which fit the sepulchral context, written before the end of the first quarter of the 4th century.
In thèse texts one very often finds interesting solar metaphors linked with the Résurrection. (Christ death is the true sunset. His
Résurrection is the true sunrise.) Of importance are writtings by: Ignatius of Antioch, Melito of Sardis, Clément of Alexandria,
Hippolitus of Rome, Origen, Cyprian of Carthage, Methodius of Olimpus. Here it suffices to quote texts by Clément and
Hippolitus. The former writes as follows: "He [the Lord] awakes men from sleep, and those that have gone astray He causes to rise
JERZY MIZIOŁEK
ASCENSION, APOTHEOSIS OR RESURRECTION?
SOME OBSERVATIONS ON THE CURRUS SOLIS
IN THE JULII'S TOMB BENEATH THE VATICAN BASILICA OF ST. PETER
Summary
Despite Othmar Perler's (1953), Sister Charles Murray's (1981) publications and many other discussions of the mosaics of the
Tomb of the Julii (Mausoleum M) beneath the basilica of the Vatican, thèse mosaics remain problematic.
In his book Perler suggested that four figurai scènes represented among vine-scrolls can be seen as a cycle of images which
should be read as follows: the Angler (on the north wall) signifies Baptism, Jonah swallowed by Ketos (on the east wall) signifies
death, the figure of Helios/Sol (on the vault) signifies the glorious Ascension of Christ from Hades at Easter (interpreted also as the
Résurrection), and the Good Shepherd (on the west wall) signifies Paradise (Heaven). In Perler's opinion the mosaics were executed
in the first half of the 3rd century.
In the latest detailed study on thèse mosaic, Murray proposed a différent order for scènes, i.e.: the Angler, the Good Shepherd,
the scène with Jonah (deciphered as both going and coming out, because entering the whale feet first — death and Résurrection) and
finally the scène with Helios/Sol. Helios in Murray's opinion depicts Christ charioteer. Differing from Perler who writes that the
chariot is shown at the zénith of its journey. Murray points out that Helios begins his journey. (This view is partly based on an error
of observation. It the case of the left hind leg of each horse it is not only the lower part that is shown: the upper part is clearly visible
against the body of the horse). It is not the Ascension that is represented here but an interpretatio cristiana of the Apotheosis.
Murray thinks that the vine without fruit depicted in Tomb M, is unique in early Christian art and becaus of this has deep symbolic
meaning: is linked with the Christian Mystery in which "the true fruit of immortality is given by Christ". Thus the christians in this
Mystery are first "caught" by Christ the Angler, then saved by His teachings (the Good Shepherd), and after death and the
Résurrection (Jonah) ascend to heaven in the chariot of Christ-Helios. Murray is not of the opinion that there may be a connection
between the Helios représentation and the iconography of Sol Invictus, as was suggested by Perler and other scholars. Like Perler,
however, she dated the mosaics "not later than the middle of the 3rd century".
1 he main hypothesis in this paper is based on an observation, which has so far been overlooked in the literaturę on the subject
that in the case of Helios in Mausoleum M one should consider the "orientation". Although the charioteer is depicted on
a North — South axis, his chariot rises from the East. (It is important to remember that the Vatican cementery spreads out from the
East to the West). This observation and the ascendant position of the horses make feasible the suggestion that the mosaic on the
vault depicts the Rising Sun (Oriens). Such a suggestion has already been put forward by Ernst H. Kantorowicz. Professor
Kantorowicz's interesting hypothesis was based on a false observation that beneath the wheel of the chariot the mosaic is of
a reddish colour, and this could signify dawn.
The fact that Vatican Helios "ascends" from the East and at the same time, without doubt, is linked with the iconography of
Sol Invictus, makes it possible to reject Murray's interprétation and partly that of Perler. The solar charioteer probably can not be
interpreted as an image of the Apotheosis, because there is no other représentation of Sol Invictus in sepulchral art, hor as the
Ascension, because Christ ascended to heaven in the direction of the East, and because of the symbolism of "the East" (Oriens-Christ)
which was very widespread amongst early Christians. As early as the first century it seems they turned towards the East when
praying. (The Lord not only ascended to heaven in the direction of the East, but also His Second Coming was expected from the
direction of the East.)
Following Deichmann's (1970), Brenk's (1977) and other scholars' suggestion, but adding new observations, the author dates
the mosaics from circa 300 or rather in the first quarter of the 4th century.
Without considering the order of the scènes in Mausoleum M which is still debatable, the author questions Murray's suggestion
that the scène with Jonah could signify both death and Résurrection. In early Christian art, however, one may also find Jonah
séquences in which he is represented entering the whale feet first and in the next scène coming out (see, Age of Spirituality,
Catalogue, No 369).
In successive passages the author considers: 1) the problem of the vine-scrol, 2) the iconographie filiation of the Helios motif
and at the same time date of the mosaics, 3) the significance of the représentation of Helios and 4) early Christian images similar in
conception.
Ad. 1. Murray stated that the vine without the grapes as pictured in Tomb M is unique in early Christian art. One may find,
however other examples (see, figs 6 — 8 and notes 38 — 41). The most important example is to be found in the Cemetery of S. Gen-
naro in Naples (fig. 6) with Christ [?] with the virga taumaturga shown amongst vine-scroll (no doubt without fruit). Thus, it seems
that, the vine in Tomb M has rather only a décorative function.
Ad. 2. Following earlier opinions, but enlarging on them, the author points to an obvious connection between the iconography
of Helios in the Julii Tomb and the iconography of Sol Invictus (see figs 14—17). Consider a well-known tondo of the Sol-Invictus —
Oriens on the Arch of Constantine in Rome, ca. 312, and its location on east wall where the sun rises./ Moreover this tondo, together
with a scène below representing Constantine's entry into Rome closes the narrative composed on this monument. Another
important image of the Sun of the Sol Invictus type is to be found on the floor mosaic in the synagogue Hamath Tiberias (first
quarter of the 4th century fig. 19). Thèse and other examples justity the opinion that the Vatican mosaics were executed ca. 300 or in
the first quarter of the 4th century. It is worth noting that the high-belted chiton worn by Helios in the Julii Tomb was very popular
in représentation of the Sun at that time (see figs 14, 15, 18; cf. also figs 16 and 17). One may add that also other scènes represented in
Mausoleum M are to be found in art ca. 300 and in the first quarter of the 4th century.
Ad. 3. Helios as depicted in Tomb M represents Christ Himself; this is suggested by the rays which extend from the head of the
Charioteer, arranged in a cruciform manner, and by the scènes pictured on the walls. But what is the meaning of this image, taking
into account its "orientation", the ascendant position of the chariot and "unconquered nature" of the Charioteer?
Following previous research, by Perler and Kantorowicz, and at the same time enlarging on them, the author considers texts of
Christian exegetes on Christ-Oriens, which fit the sepulchral context, written before the end of the first quarter of the 4th century.
In thèse texts one very often finds interesting solar metaphors linked with the Résurrection. (Christ death is the true sunset. His
Résurrection is the true sunrise.) Of importance are writtings by: Ignatius of Antioch, Melito of Sardis, Clément of Alexandria,
Hippolitus of Rome, Origen, Cyprian of Carthage, Methodius of Olimpus. Here it suffices to quote texts by Clément and
Hippolitus. The former writes as follows: "He [the Lord] awakes men from sleep, and those that have gone astray He causes to rise